fuseboxx - Ulanarao (Live in Baguio, Feb 2014)

I want to share this footage of my gig with Filipino progressive rock band fuseboxx last February 2014 in Baguio City, Philippines.  Ulanarao is one of the songs from fuseboxx's first album.  The song is pretty much a heavy prog-rock tune with straight-ahead 4/4 grooves, tribal tom patterns, double bass drum parts, and some odd-time twists (7).

My drum set-up on this gig: 5x13" Tama Artwood Maple snare drum, Tama Superstar drums, Tama Speed Cobra double bass pedal, Zildjian cymbals.  I wish I had more toms and cymbals. =D

Fuseboxx (2014):
Abby Clutario - vocals, keys, Chapman stick
Eric Tubon - keys
Mico Ong - guitar
Anthony Dio - drums




Follow fuseboxx on Facebook, YouTube, Spotify, and Instagram.

Zendee - Under The Stars: YouTube Sensations

Sharing this video of my session with Filipino YouTube sensation Zendee.  This was a memorable session because this was my first time to perform in Singapore.  And it's always a pleasure to play drums for world-class singers such as Zendee.

Under The Stars: YouTube Sensations concert.  The Coliseum of Resorts World Sentosa, Singapore; June 28, 2013.


Zendee's Band:
Criss Buenviaje - guitar
Nino Salazar - keys
Benjie Diray - bass
Anthony Dio - drums

Mike Alba's Muscle Memory Workout Program (Module 2)

MADP Module 2, Batch 3: From left-right: Weng Saavedra, Lawrence Alba, Master Michael Alba, Ed Catalan, and Anthony Dio

Michael Alba's Muscle Memory Workout Program Module 1, which I took up and finished late 2010, has been significant to my drumming and musicianship, as Filipino drumming master Mike Alba have shown me and my peers the right path to a much better drumming performance (as documented on my Module 1 testimony, posted a year and a half ago).  Like I said, this was among the best investments I've ever made for my drumming.  Everything I learned here, I will be carrying with me all throughout my drumming life and my professional career as a working musician.

A couple of months ago, I just finished the Module 2 Program, which took every drumming and musical aspect notches higher and further challenged our drumming, in terms of technique, performance & creativity.  The way I see it, Module 2 is a super-sized version of Module 1, which pushed me and my peers to our limits.  In no particular order...

Module 2 pushed me to become a more well-rounded and versatile drummer.  Various musical styles were covered, from hard rock to smooth-swinging jazz, from pop to contemporary fusion, from funk to improvisational, odd-metered, and world music-inspired pieces...  There's always something to be learned from every genre, and all these greatly helped us in understanding and appreciating different styles.  Versatility is an important factor in becoming an effective musician especially in a session/mainstream setting.  So learning various styles do pay off.  Plus Sir Mike's selection of tasteful yet challenging play-along pieces are worth reviewing.

Module 2 simulates real-life career situations, and it pushed me to manage my time and practice habits.  Every Module 2 homework consists of at least 3 challenging play-along tracks and a couple of creativity exercises which challenged us to create our own original parts.  So it was also an exercise on time management, as we juggled our woodshedding hours with our nightly gigs, day jobs, school, quality time with loved ones, and whatever routine or schedule we're going through our everyday lives.  And with how Sir Mike gave out our assignments, he's like a musical director handing out the pieces we needed to play, and we only had a few days to nail down everything!  So it was like a real-life session scene, where we're expected to be on top of our game, learn new materials fast and effectively, and be able to come out with drum parts which will work for the music.

Module 2 pushed me to work harder on my sight reading.  For me, the Module 2 Applied Sight Reading (ASR) Exercises are like Module 1 ASR Exercises, but on steroids!  With its various mixes of notes, rests, and figures (in particular, plenty of triplets, sixteenths and thirty-second notes, and don't forget the infamous fermata), these are guaranteed to be incredibly challenging, even for drummers who are already used to sight reading.  But once mastered, or at least be able to go through it, it will greatly help with our sight reading skills, plus our speed, endurance, articulation, and dynamics.  Well, I'm still not the fastest sight reader, but thanks to the Module 2 ASR exercises (plus the more challenging play-along charts), my reading skills improved.

Module 2 pushed me to review my drumming techniques.  From the way I hit a snare drum backbeat to the style of footwork I use for my bass drum technique, Sir Mike showed us the right way to proper technique in order for us to play better and execute our parts more convincingly.  Like I said about Module 1, Sir Mike's still the Quality Control guy in Module 2.  Besides showing us and reminding us about the proper hand and foot techniques, he still made sure that our execution is a musical statement.  The dynamics, the proper volume, the effective way to hit every drum and cymbal...  Sir Mike wants us not only to play better, but also to sound better.

Module 2 pushed me to further respect and appreciate the drumming gods.  It's not that I do not revere the likes of Jeff Porcaro, Steve Gadd, Dave Weckl, John Robinson, David Garibaldi, Will Kennedy, Vinnie Colaiuta, and all these amazing drummers (I love and worship them all!).  In Module 2, we learned how to play their classic drum parts correctly and with conviction.  So our respect, admiration, and fascination for these legends grew deeper.

Module 2 pushed me to become more creative.  With the thousands of amazing drum licks and chops already invented and played over the years, are we still capable of creating a new, original drum part?  The answer is YES, and Sir Mike's system made our creative juices flow, as we orchestrated our original fill-ins during the Module 2 sessions.  Plus, whether we love soloing or not (I don't consider myself a good drum soloist, and I often dread playing drum solos), there were several activities in Module 2 which challenged us to perform effective drum solos, which should still be a musical statement instead of just scattered pieces of notes, chops, and licks.

I can go on and talk more about Module 2.  But of course, I don't want to give away too much information (for the sake of future Module 2 students).  The bottom line is, Module 2 is big boy stuff. It will push you hard.  It will challenge you.  It will inspire you.  And it can even frustrate you (in a constructive way).  But at the end of the day, as long as you persevere, remain patient, and work hard on practicing and honing your craft, going through Module 2 is a very rewarding experience.

Thank you very much Michael Alba for being a wonderful and inspiring mentor.  You did it again, Sir Mike!  You are a blessing to me and my peers.  Thank you for your passion, generosity and positive spirit.  To my Module 2 Batch 3 classmates - Lawrence Nolan, Weng Saavedra, and Ed Catalan: It was an amazing Module 2 adventure with you guys.  Thanks for the friendship and support!  To Doc Jigs Asinas, Module 2 Batch 3 misses you!  To Kent Pedraja of KNR Studio in Cubao, Quezon City, thank you very much for the excellent venue for our graduation day and drumshed session!  To fellow Mike Alba Drum Program graduates Ruben Tecson, Christian Enriquez, Nigel Norris, and Otep Conception, thank you very much for all the help, brotherhood, enthusiasm and laughter during our Module 2 Graduation Day!

Best wishes to all our drumming and musical endeavors!  God bless Mike Alba Drum Program!

Photos courtesy of Ruben Tecson (copyright; posted with permission).

UKZ - Radiation

Happy New Year, folks!

To kickstart my blog this 2011, I'm sharing this music video of an awesome progressive rock piece by virtuoso supergroup UKZ, featuring German superdrummer & ambidextrous technical wizard Marco Minnemann.

UKZ is a virtuoso supergroup formed by former 'UK' keyboard/electric violin legend Eddie Jobson with ex-King Crimson stick player Trey Gunn; Austrian guitar prodigy Alex Machacek; former Expanding Man vocalist Aaron Lippert; and German drumming phenom Marco Minnemann.

The video features some great overhead shots of Marco, showing some of the challenging things that he can effortlessly do on the drumkit.  Plus, I'm digging his Ghost In The Machine (The Police) t-shirt.

I'm also opening the year with the most curious inquiry...  How true is it that Marco Minnemann is the new drummer of Dream Theater?  Honestly, I think that'll be a very exciting team-up, musically.


*Special thanks to my friend, Fuseboxx guitarist Michael Ong, who shared this video on Facebook months ago.

Mike Alba's Muscle Memory Workout Program (Module 1)

From L-R: Anthony Dio, Lawrence Nolan, Dr. Jigs Asinas, Paulo Garganta, Dom Banguis, & Sir Michael Alba.

The last six weeks have been very significant in my drumming and musical life.  I enrolled at Module 1 of Muscle Memory Workout Program of Michael Alba, one of the best drummers in the Philippines.  I just finished the program last Tuesday, and I have to say, this is among the best investments I've ever made for my drumming.  Everything I learned here, I will be carrying with me all throughout my drumming life and my professional career as a working musician.

Prior to enrolling in this program, my need for improving my drumming has grown greatly & I've been yearning for some musical inspiration.  I always see myself as an endless apprentice to the art of drumming, and I always wanted to grow and develop as an artist & take my craft to the next level.  And specifically, I also needed to improve my technique.  Just when I was searching for some education and inspiration, Mike Alba and his Muscle Memory Workout Program came in.  It was a blessing & a matter of right timing.

Batch 2.

What is the Muscle Memory Workout Program?  It is a 10-session drum curriculum designed by Mike Alba.  One session is two and a half hours long.  The workshop consists of five students per batch (five, because it's the most number of drummers Sir Mike can accommodate in his home studio in Quezon City).  The main topics covered in this drum workshop include endurance exercises, workout exercises on groove and rudiments, applied sight reading, music dictation, and developing drum charts and musical roadmaps.

I don't want to give away too much information regarding what was covered throughout Mike Alba's program (for the sake of Sir Mike's future students).  But here's what I can share.  Everything I learned in Mike Alba's program is totally practical and useful to me as a working pro.  Though I still need to continuously practice the exercises and sharpen my technique and note-reading, I instantly felt a huge difference in my playing.  In fact, just after Day 1 of the 10-day program, I can already feel and hear the difference.  And it's cool that my bandmates even noticed it.  On one gig, they were like, "Hey, there's something new here!", and "I can hear those sixteenth notes much better now!"  I'm still a work in progress, but I sure owe it to Sir Mike.

Mike Alba's modified Virgil Donati workout indeed does wonders to a drummer's hands.  Like Sir Mike, this has already become part of my pre-performance or pre-practice warm-up routine.  Sir Mike recommends that we do it at least once a day.  We can do it twice a day, and we'll get much better.   And we can do it three times a day, and we'll become invincible!  As long as this becomes part of our daily drumming routine, the results are guaranteed.  It's a great muscle memory workout for the fingers, hands, wrists, and arms, and it's a great help for our endurance, control, technique, dynamics, and articulation.

I'm already quite familiar with some of the most commonly used rudiments, such as singles, doubles, and paradiddles.  But when Sir Mike presented us his workout on rudiments, it was an added dimension for me.  First, since the rudiments were on paper, it was also a sight reading exercise, so it's a muscle memory workout for the eye.  And second, Sir Mike focused on some of the rudiments which are commonly applied on the drumkit, and he also shared some interesting ideas on how we can integrate it with our grooves and fills.  With practice and patience, these rudiments can serve as additional vocabulary in our drumming arsenal.

Admittedly, I'm a slow sight reader, and the last time I actually sight-read drum charts on a regular basis was way back during my college days with the DLSU Pops Orchestra.  Sir Mike's applied sight reading exercises are a huge help.  For me, it was like a review and a rediscovery.  This also serves as a coordination workout between the eyes and the limbs.  The sight reading pieces were written by Sir Mike, and in the program, it is played on the snare drum or practice pad.  One cool thing about this is he used some of the most commonly used figures on session work, such as eighth, sixteenth and triplet note combinations.  So this serves as another muscle memory workout for the eyes.  Sir Mike also encourages us to be melodic by trying to sing these figures & play it around the drumkit instead of just on the snare drum or pad.  Again, these can be used as additional tools in our drumming vocabulary.  Plus, Sir Mike helped me in becoming more confident with my reading skills.

My favorite part of the class is what I like to call the groove session.  This is where we listen to songs (for the program, Sir Mike has selected a repertoire of actual recordings coming from different styles and eras), then develop musical roadmaps, write drum charts, and play along to those recordings on the drumkit.  For me, this is the most musical part of the class.  Though it's my favorite part, it can be the most grueling.  Our assignments of charting the songs, learning it, and playing along with it is not as simple as it sounds.  Several songs may seem simple to play, but it's not as easy as it sounds.  Sir Mike wants to make sure that we nail it right, for these are valuable skills required for session work.  For me, these exercises also serve as training tools for our listening skills, our attention to detail, our musicality, and our discipline.  As a pro, I've been covering songs for years.  But now, Sir Mike's methods help me enhance these skills, which are essential for pro drummers who do session work or in pop/mainstream settings.  The groove sessions also taught us and reminded us of the value of respecting the music, plus we get to further appreciate the great drummers who played on the recordings.

Every class ends with a Drumometer session, where each of us plays on a pad with a gadget that records the number of single strokes we play in one minute.  At first, I wasn't really interested in developing my speed to extreme levels.  But what I appreciate about the Drumometer is it's a great practice tool that can monitor our progress.  And it's not only about speed.  It also puts a great deal on control, endurance, and technique, which are factors in developing greater speed.  And hence, the Drumometer can be tool that can help our hands become much better.

Other than the specific activities and lessons I mentioned, there are plenty more things that we have learned from Sir Mike.  Finally, I learned how to play the brushes effectively (which is one of the favorite things I've learned from Sir Mike, since brushes have been a long mystery and frustration of mine).  I also learned a few new tricks and licks around the drumkit.  It's also cool that Sir Mike is very observant of our playing, whether on the drumkit or on a practice pad.  Sir Mike is a patient and a very motivating mentor.  He also makes it a point to correct our bad habits, and he does it in a professional and constructive manner.  In my case, I've already adjusted some of my bad habits, and I'm still in the process of strengthening my left hand and my technique.  Even if the program's over, it's still a continuous learning process.  Mike Alba's program sure makes us spend more quality time on the woodshed.

I admit, it can be quite intimidating to play along to a track in the presence of one of the best drummers in the Philippines observing you nearby.  But he's a really cool teacher, and he's very easy to get along with.  There were moments too when Sir Mike gets to share his stories, such as his experiences as a pro, as a student at the Los Angeles Music Academy, and some of the famous drummers he met.  Even all these talks and his sharing of knowledge and wisdom are inspiring.

One factor that I appreciate regarding Sir Mike's program is the fact that he is very particular with quality.  We may have all the technique in the world.  But if it doesn't sound musical and if it doesn't feel great, it won't matter at all.  Sir Mike is like a quality control guy.  He wants to make sure that we're not just technically solid, but we'll also be sounding and feeling great too.  And quality means a lot on session work, which I realized and learned later on.  It seems that Sir Mike's program is highly geared towards drummers who are in the session scene or in a mainstream setting.  Hence, his program is highly recommended for drummers who aspire to have a fruitful career towards that direction.  Though it's not limited to that; anybody who simply wants to improve or enhance their skills will greatly benefit with Sir Mike's program.

Another thing I appreciate so much in Mike Alba's program is the fact that we are a class of five students.  Most drum lessons (or any other musical instrument) are traditionally one-on-one sessions.  What's great about having classmates is first, it's great to meet new friends and extend the drumming camaraderie.  Second, I get to appreciate my classmates' drumming.  We may have similarities and differences in regards to musical backgrounds, preferences & tastes, among many things.  We have our strengths and weaknesses as well.  But it's cool that we are all on the same boat.  Each of us still wants to push on and improve with our craft, which is why we're studying with Mike Alba.  It's also understood that being in a class is not about competition, which takes us to my next point.  Third, we get to gauge each other in terms of improvement.  It's like for example, when I notice my classmates already improving on their rudiments or sight reading or their Donati workout routine, I tell myself, "I better catch up!"  It's like a subconscious way of encouraging myself.  And on the other end, if some classmates are catching up or having some difficulty, the rest of us would express our encouragement.  It's not about outdoing each other.  To be in Mike Alba's classes is a brotherhood, where my respect and admiration for each of my classmates have grown as the sessions passed.

The apprentice & the master.

Our graduation day last Tuesday, December 7, was the icing on the cake.  At the final day of the program, we played our individual applied sight-reading pieces, grooved along to our special graduation day play-along track, and had a final music dictation test.  It's also cool that after all that, Sir Mike handed each of us a special Certificate of Completion.  We had a pot luck feast afterwards, and I even got to blow a candle on a chocolate cake, since it was my birthday a couple of days earlier.  And of course, during our merienda, it was more drum and music talk & sharing.  Ah, the drumming community!

Thank you very much, Sir Mike Alba.  You're a blessing to all of us.  Just when I needed improvement and inspiration, you came along like an answered prayer.  You're an awesome world-class musician and an inspiring mentor, and I'll always cherish the times spent & all the lessons I learned from you.  Continue to be an inspiration to me and to everyone.  And to my Batch 2 classmates --- Lawrence Nolan (my seatmate & our Drumometer king), Paulo Garganta (all the way from Batangas; thanks again for the coffee & all the talk on the road), Dom Banguis ("speak softly; carry a BIG stick" --- wow those are HUGE warm-up drumsticks!), and Dr. Jigs Asinas (the heavy metal guy & the most "well-compensated" among us; one of the most humble and down-to-earth dudes I've ever met) --- it's my pleasure to meet you and be classmates with you guys.  I admire and respect all of you, and studying & learning is a blast when it's spent with good people like you.  Great drumming!  Cheers to Sir Mike!  Cheers to all of us!

And so, that's all for Module 1.  Module 2, which will be set sometime next year, is in the works.  And the work in progress goes on...

*Photos courtesy of Sir Mike Alba & Dr. Jigs Asinas.

Gearhead Thoughts: Some New Gear

I've been busy these days, which is why I need to catch up with my blogging.  In addition to my usual gigs with K24/7, I am currently having a few activities outside my band, such as session work (thanks to my friends from Hit Productions) & drum lessons under the mentorship of great Filipino drummer Mike Alba (which I plan to blog about next time).  Being busy is a good thing for me, and I feel blessed because of these opportunities coming in.  It also enabled me to purchase some new gear, which is not only a case of GAS (gear acquisition syndrome), but also a necessity.  Most of the new stuff I got are for the sake of replacing some of my old gear which recently broke down or needed to be updated.

Here are some of the new gear which I recently acquired.

I got this Zildjian 17" A Custom Rezo Crash cymbal from JB Music (Zildjian's local distributor) through their trade-in program.  I traded my broken 17" K Custom Dark Crash for this new baby, which is among the latest line of cymbals from Zildjian.  I love dark and contemporary-sounding cymbals, which explains my preference for K Custom cymbals all these years.  I love how it blends in with my band's style of music & how elegant it sounds especially during recording situations.  The rides and hats are beautiful stuff worth keeping.  However, when it comes to crashes, I was beginning to look for something else.  I've had Custom Darks and Hybrids.  Though they all sound awesome, they are fragile, thin-profiled models & I don't get enough sound from them on some live situations, particularly with bigger venues.

When Zildjian introduced the new A Custom Rezos early last year, I thought these may be the solution to my search for a fresh new sound.  Am I glad to have a Rezo Crash now, because I'm loving it!  Prior to purchase, I made my research regarding the Rezo Crashes.  Some said that if you like the K Custom Hybrids (which I do), you'll like the A Custom Rezos as well.  The product review on the March 2009 issue of Modern Drummer, which described the Rezos as "having a great balance of volume, reaction, and quality of sound", was helpful too.  The MD review was spot on!  I love how the Rezo Crash explodes with just the right amount of tone and volume, with just enough sustain, and just enough cut without piercing our eardrums.  My bandmates love it too, and complimented a number of times regarding how nice it sounds.  This is among the sweetest-sounding crash cymbals I've ever used.  It's also an added bonus that it's also a handsome-looking cymbal, with its different bands of lathes and the combination of brilliant and traditional finishes.  Plus it's got a medium-thin profile, so this would be more durable than my previous K Customs.  I think I'll get a bigger 18" or 19" Rezo for my right side next time.

The Drum Dial is a gift from my US-based genius godfather Chit Ramirez (my uncle who gave me my Magic Drum).  This is a really helpful piece of equipment.  First of all, I can say that I'm pretty much used to tuning drums, based on feel plus all the years of experience.  I thought I'm quite fine with my drum tuning skills, which is why I never really took notice of those drum tuning assistance gadgets coming out on the market in recent years.  Until, my uncle got me this nifty piece of equipment which he and his musician friends from the US claim that it will be very useful for my craft.  One week after using the Drum Dial to tune my drums, I can definitely hear and feel the difference!  I'll be writing my review of the Drum Dial soon.

My trusty five-year old Behringer Eurorack UB802 compact mixer's power supply blew up recently.  Before this happened, I was already having thoughts of retiring this workhorse for home use (I'm planning to set-up a sound system at home for my play-along practice needs).  So I need to have that power supply fixed.  A few days ago, I got a new compact mixer for my stage monitoring requirements.  I got Behringer's Xenyx 502 mixer.  The eight-channel UB802 served me well, even if I'm unable to maximize it because I only use two channels most of the time - one for the live band mix & another for the sequenced tracks, plus an optional third channel for my metronome (when needed).  So the five-channel Xenyx 502, which is almost similar to the old Eurorack UB502 used by former South Border drummer Paul Benitez back in the day, is pretty much just right for my basic stage monitoring set-up.  It's also great that it's smaller (its footprint is just around 5"x7"), it's more lightweight, and it looks sleek with its black/gray finish (compared to the Eurorack's colder and more industrial-looking steel silver finish).

Up to this day, I'm still frustrated over the loss of the left earpiece of my M-Audio IE-20 XB in-ear earphones (which I mentioned in this May 2010 blog).  How I wish that somebody can help me with acquiring, if possible, just the left-side piece of this high-quality listening equipment (hope you're reading this, Drum Shop Manila and/or JB Music).  Anyway, I've been reading and hearing stories about some side-effects of using in-ear earphones, which may damage the ear canal when not used properly.  So I thought of using traditional headphones as an alternative.  My top choice (and only choice) is the already-proven Vic Firth SIH1 Stereo Isolation Headphones,which are specially designed for drummers.  Essentially, these are traditional earmuffs which have built-in speakers, which makes it an excellent play-along tool because it is highly effective for listening to music while blocking outside noise.  Its fit is quite tight and snug, which is a good thing.  That means I can still bob my head during live situations, and I don't need to worry about the headphones slipping off my head.  The stereo sound may not be at par with my M-Audios (which have become my benchmark in sound quality), but the playback quality is decent enough for its purpose.  By the way, thanks to my source, Vinci Rodriguez of Drum Shop Manila.

These new equipment, plus the used DW 5002 double bass pedal I got last month, enable me to complete my essential gear requirements.  After a few months of struggling with sub-par, missing, or worn-out gear, I'm finally able to update and upgrade.  It feels great to be back to normal again.  And with the help of all these nice gear, I don't need to worry that much anymore with my equipment, which would allow me to focus more on the music and my drumming.  I'm blessed that I still have my gigs with my band, I have some opportunities coming in, and I'm able to rise up from the months of gear frustration I had.  I just need to keep working hard and play better, so that more bright opportunities can come in.  I'm grateful.

The Simon Phillips Influence

As documented on my recent blog entry, with my purchase of a second-hand yet still good set of DW double pedals, I just returned to double bass drumming.  Currently, I am in the slow and steady process of re-learning double bass, working more on my footwork strength and technique.  As far as my personal style and preferences are concerned, I don't think I'll ever reach the extreme double bass skills of today's technique and speed demons such as Virgil Donati and Derek Roddy.  And with my band's style of music, I cannot utilize double bass all the time, as much as how dominant double bass drummers like Mike Portnoy, Charlie Benante, and Vinnie Paul did with their respective bands and recordings.  I guess I'm grooming myself more into a tasteful, musical, and occasional double bass drummer, opting to play double bass when it's called for in the music.

And speaking of tasteful and musical, my double bass studies have brought me back to one of my favorite drummers, a significant innovator in the art of double bass drumming, and among the best rock drummers of all time...  Simon Phillips.

I always thought of emulating Simon Phillips' drumming style, which I like so much.  It's also interesting to notice such diversity in his skills set.  Simon is often described as the consummate rock drummer.  Yet he is so well-rounded, for he can convincingly play different styles, such as pop, fusion, and jazz.   Simon's drumming style may be technique-oriented.  Yet he's also groovy and fluid.  His drumming feels oh-so-good.

Simon's been playing on the same signature double bass, multi-tom, open-handed Tama drumkit set-up in the last 30 years or so.  Though people who are not familiar of Simon's drumming may have the impression of an overplaying basher on a monster drumkit, it's actually the other way around.  Simon is no hard hitter (to the point of breaking stuff).  He treats his huge drumkit as one powerful musical instrument, meticulously creating musical drum parts with every tom, octoban, and gong bass.  Simon's also got excellent ears for great drum sounds, which seem to be a mix of the more focused fusion drum sounds & the bigger-than-life rock drum sounds (which I also like).  And of course, I mentioned his wonderful double bass technique.  Take note too of his open-handed playing style, his knack for composition, & his ability to create very cool drum licks and fills.

Embedded below are three video excerpts coming from his instructional videos in the 90's.  The instrumental performances also feature guitarist Ray Russell & bassist Anthony Jackson.  The three examples below best represent what Simon Phillips is all about.  Power, finesse, groove, feel, technique, style, creativity, musicality, great drum sounds, cool drum parts...  I would love to emulate Simon Phillips' style.

Well, except for those old-school tights.  I'll never wear one.

My Simon Phillips blogs from the past:

Toto, Live in Manila '08: My Concert Hangover, 04 April, 2008.

Zildjian Day Manila 2005: Simon Phillips Drum Clinic, 31 October, 2005.

Gearhead Thoughts: Back to Double Bass, and My Studio H Experience

I have just survived playing without a double bass pedal for almost a year.  October last year, I decided to take a vacation on double bass and return to single bass drumming, as documented in this October 2009 blog.  Now, I am happy to say that I'm back to playing double bass.

I got myself a second-hand DW 5002AH Delta 2 double bass pedal two weeks ago.  I bought it from a friend, and I think I'm the third or fourth owner of this pedal.  It's an old model, but it's still in great mechanical condition.  I just needed to clean it up a bit after I got it.  I made some research on this particular model, and I reckon that this particular DW model was built circa 2002, judging from the footboards with the words "chain drive" casted above the distinct 5000 trademark.  This model must be the first to have DW's Delta ball bearing hinges, with its distinct red finish.  Plus, this model was the first to be featured with optional accessories such as pedal weights and stacking Elevator heels.  The DWs I got have the weights, which are those round things screwed at the top end of the footboards.

Back in the day, when I was still starting out, DW's 5000 line of pedals were the most sought-after drum pedals, and these were the benchmark and cutting edge in terms of design, technology, and playability.  In fact, they were my dream pedals.  Until, the Japanese came out with their Iron Cobras (Tama) and Powershifter Eliminators (Pearl), which offer plenty of high tech features and player customization.  Then, American pedal manufacturers such as Axis and Trick took pedal innovations notches higher.  Nowadays, there are so many great drum pedals to choose from, and I guess we somehow owe it all to DW.  As far as I'm concerned, the DW 5000 pedals are the pioneers of the modern bass drum pedal.

It's cool that I now have a DW 5002 double pedal.  Though second-hand, I can still say that I'm able to get my dream pedal.  Though it doesn't offer as much customization as the Cobras and Elims which I used to have, the DW still has that great feel, which is what matters the most.  I don't know if it comes with maturity, but I'm probably getting less techy when it comes to pedals.  I would still love to have a high-tech set of pedals someday, once it's time for me to upgrade.  But for now, I'm enjoying these good old 5000's, which still feels great even with all its mileage and battle scars.  And now, I have to shed off some of my double bass rust.  Better get my footwork back on track.

***


It's great timing that I got back to double bass.  Recently, I was called to do this recording session.  We recorded an original progressive rock composition, so it was an opportunity for me to go back to my rock roots and play some double bass.

It's a privilege for me to do a recording session at Hit Productions' Studio H last Sunday afternoon.  It was my first time to do a session there, and it was a treat for me.  Hit Productions is among the best audio production houses in the country, and their flagship Studio H reflects their quality, innovation, and their knack for the latest technology.  For me, Studio H is like the 19 East of local recording studios.  The studio is so well-equipped.  The house kit is a Mapex Saturn, which sounded sweet.  They have a stable of over a dozen snare drums of different shells and sizes, some of it are custom-made models from companies which I never get to read about in my drum magazines.  Plus they have a wide selection of cymbals.  I am particularly impressed with the set of Paiste Twenty cymbals, which I was able to try for the first time.  If I were to use Paistes, the Twenty would be my line of cymbals.  However, for the recording, I need brighter, heavier cymbals.  Plus, they have enough drum hardware for drummers who need to improvise with their set-ups.

Studio H also has a baby grand piano, and plenty of high-tech recording tools and gadgets.  The recording facility is also a haven for guitar and bass players, for there's an impressive collection of electric and acoustic guitars & bass guitars lined up along the walls of the mixing room.  It's simply topnotch, and by far it's the most impressive recording studio I've ever visited.

Going back to the recording session, one of the bosses from Hit has this original progressive rock composition.  For me, the song's got an old-school feel in it, with a twist of Frank Zappa & Black Sabbath.  The song is funny.  It is about this fictional superhero, who will be revealed as a homosexual later in the middle of the tune.  There's some straight-ahead parts in 4/4, then the tricky odd-time pre-chorus, which I counted out was in 19/8.  It was a challenging session for me because first, it's been a long time since I last played heavy progressive rock music.  Second, I have to learn the song on the fly (while the people I worked with already knew the song).  And third, I am recording with complete strangers!  It sure took me some time to learn the track on the spot, particularly the transitions and the different grooves.  Yet, at the end of the day, I thought it's a great challenge for me, and I hope that I'm able to satisfy the songwriter & my fellow sessionists.  Though I wish I had more time, I think I could have done a much better job.

For that session, I set up the Mapex house kit with 3 toms (10"-12"-14").  My cymbals were a mix of Zildjians, Sabians & Paistes.  My ride cymbal was a 22" Sabian Neil Peart Paragon Ride, which sounded big yet crisp.  My effects cymbals were a Paiste Twenty splash & China, which sounded well on the mix.  The hats and the crashes were all Zildjian.  I also used my Old Faithful 14" Tama Starclassic Maple snare drum.  No disrespect meant to Studio H's snare drum collection, but I thought of using my own drum so that I can hear how it sounds on recording.  And finally, I hooked in my DW 5000 double bass pedal, which I got to use on a few fills & some straight-ahead passages.

I hope to have another opportunity to work again at Studio H.  I had a blast.

Usher in Manila: My Friends' Front Act Experience

My K24/7 bandmates Paolo Banaga and Ian Fajarito had the time of their lives last Friday night, opening for Usher here in Manila.  Paolo was called to do back-up vocals with South Border, while Ian played keyboards for Nina.

Here are a few photos from Paolo.  For more pics, check out his Facebook photos, here and here.

Aaron Spears' DW/Zildjian set-up.

Paolo checking out Aaron Spears' kit.

Soundcheck.  South Border + Nina.

  Two drumming phenoms meet. Aaron Spears & Benjie Mendez.

K24/7's Ian Fajarito with the man Aaron Spears.

 Ian with Usher's band.

Again, with Usher's band. Dylan & Jay Durias, Paolo & Ian.

"I can't explain how lucky we are and how proud I am being a Filipino... 'coz these cats (Usher's band) were jumpin' and screamin' at the side of the stage when we were playin'... and they were the ones who were shoutin' 'more!!!'  I'm gonna miss these fellas... They're very humble and blessed..."

--- Paolo Banaga, via Facebook


Pao and Ian arrived at our Off The Grill gig after the Usher concert, in time for our second set.  Later, South Border superdrummer Benjie "Bagets" Mendez and superbassist Marlowe Mata, plus birthday boy Duncan Ramos also arrived from the concert.

Pao and Bagets had plenty of stories to tell, for they just had the most awesome musical experience.  They were able to meet and hang out with Usher's world-class tour band.  Included in that band is current drumming superstar Aaron Spears, who became a major buzz in the drumming world after his "Caught Up / Sex Machine" 2005 Grammy Awards performance with Usher and James Brown.

The magic began during soundcheck.  South Border was burning during rehearsal.  They were playing so well, Usher's band went running towards the side of the stage to watch and listen.  You know that typical musician's behavior when we musicians shout, jump, or go nuts whenever we see or hear another fellow musician do something breathtaking and spectacular and feels oh-so-good?  Usher's band was blown away!  And this was just soundcheck.

Pao was so starstruck when he saw Aaron Spears, he ran to him to greet him, and Pao was like, "Wow, it's really you!  I only see you in YouTube!"  Aaron Spears is so super nice; him and the rest of the band are very friendly and very humble.  They were complimenting South Border, saying something like "It's great to see artists here who play TRUE music."

Bagets had the time of his life, hugging Aaron Spears when the two met.  Aaron said Bagets was awesome!  And Aaron was giving so much props to Bagets, complimenting his tone quality and asking him how he does it.  They also had a great time talking about drums and Stevie Wonder, among many things.  Even Aaron's drum tech approached Bagets to show his appreciation.  Even a musician of Bagets' stature can't believe everything that just happened; he was close to crying.

Nina and South Border's front act performance went very well.  Bagets' performance was stellar.  All that positive vibe was rubbed on to him, and he was absolutely in his element.

Later, when it was time for THE main act, it was my friends' turn to cheer.  Aaron was incredible that night.  Paolo and Bagets were screaming everytime Aaron did something spectacular on the drumkit.  Todo daw talaga!  Aaron also handed Pao and Bagets a pair each of his used Vic Firth signature drumsticks as remembrance.

Paolo said that when all these were happening, he's so proud to be a Filipino, and he's so proud to represent K24/7.  In those moments, race or nationality did not matter.  There was no discrimination.  Everybody's bonded through music.  There's so much love and mutual respect.  It was beautiful and inspiring, and oh how I wish I was there.

Man, I missed a golden opportunity.  A week ago, Pao & Ian asked permission regarding their big opening gig.  From there, I was thinking all week about having our regular Friday night gig cancelled so that the rest of my band and I can watch the concert, and perhaps have the chance to go backstage and meet the band.  And even if we're able to get good sessionists whenever my bandmates aren't available, it's quite hard to go through our gigs when one (or in this case, two) of my bandmates are not around.  I should have requested for a night off.  This should be one of my worst non-decisions. Geez, I still can't get over it...

It's always great to see Usher perform, but from the very start I was after his band.  And it's not everyday that I get a chance to meet a talented and world-class drummer like Aaron Spears.  When I was viewing Pao's concert photos & hearing their stories, I was close to crying.  As a consolation, Paolo gave me one of Aaron Spears' drumsticks.  I totally appreciate it, and it now holds a special place in my collection of musical memorabilia.

Paolo, Ian, the guys from South Border, Kris Lawrence, Vince Alaras, Dylan Durias & Nina are so privileged.  Like what Duncan told me that night, I'll get my chance someday.  Great job, mga kapatid!  I am so proud of Pao & Ian, as much as I feel so envious. :)

 "Incredible concert in Manila! Amazing audience!" - Usher, via Twitter (and yes, Paolo and the gang were that close to Usher).

"Thank you Manila!!!!! http://yfrog.com/j2lmeej" - Aaron Spears, via Twitter.

*All photos courtesy of Paolo Banaga.

Jun Regalado Drum Lessons 2010

Legendary Filipino session drummer Jun Regalado will be accepting drum students starting this Saturday, May 15, 2010. Drummers of all levels - from beginners to professionals - are welcome. Plus, drum students will be able to choose which drumming style/s they want to learn.

This is a great opportunity for aspiring young drummers, as well as for advanced players who are still eager to learn more and improve their craft. Jun Regalado is one of the finest and most recorded drummers in the Philippines. He is also a very effective drum teacher. He has mentored a good number of professional drummers who are currently active in the Pinoy music scene.

For inquiries and schedule availability, please contact Mrs. Monina Regalado at (02)8231981 or 09156819826. Or you can send Sir Jun a message through Facebook.

New Era Drum Tracks

I want to look back at my recording sessions, and share some of my thoughts about my drum tracks in our New Era album.

I played drums on four tracks in our album - Sweetest Thing, Don't Ever Let Go, Your Smile, and Pangako.

Sweetest Thing

"My bandmates and I were in the studio, working on "Sweetest Thing", which is the last song we finished for our upcoming album. This is an original song written for us by our dear friend Mike Luis of Freestyle. Mike is a genius when it comes to songwriting, and the song is sooo good that it gave my bandmate Paolo quite a headache while he was working on it in his computer haha, figuring out some of the notes Mike used (because Mighty Mike wasn't able to chart the notes, I think). It's a groovy, bouncy, and catchy tune. Anyway, the vocal parts were recorded on Wednesday night. Earlier that day, we had a last-minute decision to have my drum parts recorded live. At first, we thought of programming the drum parts. But I thought that I should play the drum parts live. I like the song, I like Paolo's drum ideas for it, and I was determined to put my mark in that song. And so, we booked a recording date at Blue Door Studio in Quezon City (the same studio where I recorded my drum parts for 'Pangako'). I was scheduled the next evening."

"In the studio, I set up a small kit which I felt would fit the song just right. My drumming inspiration for this song is Ahmir "?uestlove" Thompson, drummer and producer of Philadelphia-based hip-hop band The Roots. I went for the less-is-more approach. For this track, I want my drums to sound crisp and tight, almost like a toy, but still "realistic" enough for listeners to say, 'Hey, those are live drums!' I used three drums - an 18"x 20" kick and a 14" tom, which are both from my Tama Superstar kit, and my 5.5"x10" Black Panther Premium Maple, my choice snare drum for this track. I set up a few Zildjian cymbals - a pair of 12" A Special Recording Hi-Hats and a 16" K Dark Thin Crash (the said cymbals belong to my drummer friend Marco Katigbak), and my 20" K Custom Medium Ride. I thought of using my 8" A Custom Splash, but I find it too bright-sounding for the song, so I decided to remove it on my studio set-up. Paolo thought of using flammed cross-sticks for the backbeats on some of the verses, which is why I had my 13" Tama Artwood Maple snare drum on standby for that purpose (since I won't be able to play cross-sticks on a 10" snare). But later on during the session, we decided not to play cross-sticks anymore. And so, it was the 10" Black Panther all the way."

--- excerpts from my October 29, 2008 blog


I am pretty much happy with the outcome of this track, as I was somehow able to estimate the sound and feel I envisioned for the song. We got the tight, snappy, toy-like sound out of the drums, plus the bouncy & playful feel. The 10" Black Panther snare was the star of the drum set-up I used in that track. I remember feeling quite loose during this session, so it enabled me to become more playful behind the kit. Yet, I was having that "?uestlove-ish", less-is-more vibe, and I was making sure that my parts would still serve the music right. The tricky part in this track is the bridge part, where the groove shifts to a tight 16th note feel, against the shuffle grooves played through the verses and choruses.

This is one fun song to play, and drummers who'll play to this song can go loose. I look forward to playing this tune live.

Don't Ever Let Go

"I just recorded some of my drum tracks this week at SoundsRite Recording Studio in Makati, which is operated by drummer Boyet Aquino (who is best-known for his work with Francis M's band Hardware Syndrome). The studio has a good reputation for its high-end equipment and facility & quality recording results, and its clients include a good number of big names in the music biz. Though Boyet has an impressive collection of high-end drums, I still chose to use my Tama Superstar kit."

"On the Monday night session, I recorded Don't Ever Let Go, which was written by Paolo. This is quite a difficult track for me because of the crafty drum parts Paolo envisioned for the song. This was the old song which we recorded at Blue Door Studio a couple of years ago, but had some bad luck. I'm already through with that unfortunate experience, and I'm glad that I'm able to perform better in the studio this time, without any technical problems."

"I can't remember what I ate that time, or if the stars were aligned during those nights. But for some reason, I feel good with recording my drum tracks at SoundsRite."

"In the studio, I brought with me my Tama Superstar kit, which has birch shells (birch drums are tried and tested in recording/studio situations). My toms are fitted with clear Evans G2 batters. My 18"x20" kick drum is fitted with an Evans EMAD batter and an Evans EQ3 Resonant black front head (with 5" offset hole). Though my drums are pretty much set up for live situations, I was eager to hear how it performs in the recording studio. At first, the drums sounded big and boomy. After some tweaking, we were able to get decent tom sounds which responded well in the mix and complimented the songs. I should try coated batter heads next time for the toms, for a warmer sound. The kick drum's heads needed to be loosened and Boyet placed some cloth inside in order to kill some of the overtones (because of the EMAD head, I don't have any muffling inside my kick drum). We were able to get a decent, thuddy, low-end sound from the kick."

"Opting to play simpler drum parts in the recording compared to what I would normally play on a gig, I only used the 10" and 14" toms, though I had the 12" tom set aside, in case it's needed. I was also able to use my 5"x13" Tama Artwood Maple and 5.5"x10" Black Panther Maple snare drums. I tried my Old Faithful 5.5"x14" Tama Starclassic Maple, but the Magic Drum and the Cat sounded more fitting for the songs. I was also able to use my two broken Zildjian K Custom Dark crash cymbals. Even if they had those cracks and were de-modified, they still retain that K Custom magic in their sound. It still has that complex, trashy & sophisticated character, while the damages dried up its decay. I kept these old cymbals because I felt that they'll work well in the studio. And gladly, they did."

--- excerpts from my April 26, 2008 blog


Don't Ever Let Go has become a favorite among most of our loyal friends and following. The story behind the making of this song is interesting. First of all, Paolo wrote this love song based on one bandmate's past relationship experience (guess who). Second, during the first couple of drum recording sessions for this song back in '07, the computer at Blue Door Studio crashed - twice! And during that time, never did that incident happened in that studio, which pretty much has a decent track record. And it's so funny and coincidental that the two gear crashes happened during the sessions for this one song. There's really something about this song.

Finally, we were able to record the drum parts at SoundsRite studio in the summer of '08. I think the delays on the drum recordings in '07 were destined to happen. Because during the SoundsRite sessions, I was more confident, I was more prepared, and I had my then-brand new Tama Superstar kit prepared for recording.

I think I finished the recording in a couple of hours, which surprised me because I never thought I'll finish that soon, considering the sensitivity of the song and some of the more specific drum parts Paolo wanted. Those drum fills during the bridge and the last chorus? I can't remember the number of times I did retakes! I would have played the drum parts differently in this track. But this was Paolo's composition, so with him being the composer and producer, I have to respect that.

I said this to most of our friends, and I'll say it again... Don't Ever Let Go is the most challenging song that I've recorded in our album. And it's even more challenging to play it live. Believe me, it's not as easy as it sounds.

In this song, my main snare drum is my workhorse "Magic Drum" 5"x13" Tama Artwood Maple. Plus, I have once again proven my theory on broken K Customs in this recording session. Despite the defects, they sounded lovely in the studio.

Your Smile

"I recorded Your Smile, which was a bit easier for me because of its groovier, more straight-ahead nature; yet we need to make sure that my parts feel and sound right for the songs."

--- excerpt from my April 26, 2008 blog

Many listeners would think that the drum parts in Your Smile are programmed. But no, the whole thing is 100% live recording. It might not sound obvious during the first half of the song, which is mostly straight-ahead cross-stick grooves. But once the snare drum comes in at the last chorus after the bridge, that would hint the use of real drums played by a real drummer. Listen to the dynamics of the snare drum backbeat. I was in my "drum machine" mode during this song's recording session, yet I still want it to feel like it's human. And I have to say, this is one of my favorite tracks in our album.

Two snare drums were set up for this track. The main snare is my "Old Faithful" 14" Tama Starclassic Maple. It has the die-cast hoops, so I played the cross-sticks on that drum. On the left side of the kit is the 10" Black Panther Maple, where I played the backbeats of the last chorus. In case you're wondering about the splash cymbal model I used for this track, it's a 12" Zildjian Extra Thin Splash, which my good friend Rommell Garcia lent to me.

Pangako

"Recording began at around 12am. I did a couple of practice takes then made adjustments such as fine tuning the drums, making sure that the drum sounds will fit nicely with the song. (Studio Assistant) Ian double-checked the microphone set-up and prepared a click track for me. Then we went on with the actual recording. I'm not aiming to finish quickly or become a one-take wonder. The most important thing for me is to serve the music by playing drum tracks which will compliment the song. But still, we need to be efficient and productive with our studio time."

"On my first take, I wasn't quite warmed up yet, and I was still absorbing the feel of the song, the drumkit, and the studio room. But I felt confident that I'll be able to do better takes as we progress. I think it was on my third or fourth take when I finally got in the zone. I was fully warmed up and my focus was on a high level at that point. I thought I made a couple of good takes. But we know the drum parts can still get better."
"Recording resumed at around 3am. I lost a bit of momentum, and my hands got cold because of the strong air conditioning. But good thing I regained focus, and I was able to do my best takes of the night. In order for me not to repeat the whole take, we just went back to the parts which needed refinement, such as cymbal crescendos and embellishments, some fill-ins, and some hits which will lock in with the bass guitar parts."

"My drumkit for this session is a Premier Artist Birch kit, which belongs to my good friend Ernest Ramos. I used two toms - an 8"x10" rack tom and a 14"x14" floor tom. Both toms are fitted with Evans G1 Coated batter heads. The kick is a 16"x18". Don't let its small size fool you. It's the biggest-sounding 18" bass drum that I've ever heard. It has a solid low-end thump, which often surprises those who hear it. The kick is fitted with an Aquarian Super Kick I Clear batter head, which contributes to that huge sound. The front head doesn't have a hole for the mic. I don't want to make a hole because the kit isn't mine and I don't want to ruin the nice white Aquarian coated front head. So we removed the front head and put a pillow in it (Ernest didn't put any muffling on his kick). The snare drum I used is my Old Faithful 5.5"x14" Tama Starclassic Maple, which is fitted with an Evans G1 Coated batter head and an Evans Snare Side 300 resonant head."

"I used my Zildjian cymbals. My hi-hats are a pair of 14" K Custom Dark Hats and my ride is a 20" K Custom Medium Ride. The two crash cymbals used are my semi-retired damaged cymbals, which I both acquired from my friend Bennii Obana sometime last year. On my left side was my freshly-cracked 17" K Custom Dark Crash, which I recently retired from gigging. On my right side was my de-modified 18" K Custom Dark Crash which had so many hairline cracks when I acquired it, I had it cut after I wounded my finger. Even if these crashes are damaged, they still have that spirit in their sound. I thought that I'd just save these cymbals for studio work, where I think they'll sound well. And they did sound exceptional in the studio."

--- excerpts from my November 16, 2007 blog


My drumming inspiration on Pangako is Jeff Porcaro. This is a love song with a pop arrangement and mass appeal, and I can't think of any other musical inspiration better than Jeff Porcaro, who was not only a groovy pop rock drummer with a solid foundation. He was a master of great feel and sensitivity. He had the knack for playing drum parts which fits best for the music, in relation to its theme and emotions. What mattered to Jeff the most is how the listeners feel the music. I recorded my drum parts for Pangako with Jeff Porcaro in mind. In fact, I think some of the drum fills I used reflected his huge influence on me. May this be my humble tribute to one of my favorite drummers. May God bless Jeff Porcaro's soul.

To fellow drummers who are curious about the accent cymbal I used during the bridge/guitar solo part, that was the broken 18" Zildjian K Custom Dark Crash on the right side of the set-up, which was trimmed down because of multiple hairline cracks. It sounded like a trashy china/crash hybrid, and it sounded great on recording. So, before disposing those broken cast cymbals, think about it first. You'll never know how they'll sound like in the studio. You'll never know if it's magic.

***


Final thoughts...

The music on Dry Your Eyes and Pangarap Ko'y Ikaw were arranged, programmed, and recorded by Jay Durias of South Border. So, if the songs are coming from a musical master, I wouldn't dare touch it! But if Jay would ask me to record the drum parts, I would have done it.

That Side Of Me and Prelude To Ecstasy might have been more slamming if we were able to record live drums for it. But it's alright, because it turned out just fine. Playing it live during our gigs would be a different story...

Come Back... It's the most perfect drum recording... Because there are no drums on it! ;)

I'm planning to play more live drums on our next album, and I would love to do something more refreshing and out of the box. I'm looking forward to that.

Dio's Pops Stories #2: My Audition

Note: Pops Stories are a series of blogs, depicting my life and times with the DLSU Pops Orchestra.

In this blog entry, I remember my audition with the DLSU Concert Band, which will be renamed the DLSU Pops Orchestra the following year. I wrote this blog on Saturday April 18.

*****

18 April

Dio's Pops Stories #2: My Audition

1996... Entering college was an exciting time for me. Frankly, it’s not because I was finally in college and it will mean a lot to my future. For me, college was a time to expose myself, enjoy life to the fullest, and have the chance to grab greater opportunities – musical opportunities, particularly. Since I began playing drums during my first year in high school, I had the dream of becoming a professional musician. Well, it was more of a fantasy. Before, I thought I would be another normal guy who will eventually have a decent job, while music can be something I can do on the side. Anyway, by the time I entered college in 1996, I was a rock drummer who aspired to become a better musician (up to this day, I still want to get better), and I was hoping to find opportunities to play more drums. I wanted to make a mark and establish myself as a musician.

I remember how excited I was during my freshman orientation. Back in the day, the frosh orientation is a one-day affair, with its standard operating procedure of meeting our blockmates, touring the campus, and learning about all things La Salle, like the alma mater song, cheers, and some history and culture (though these weren’t so new to me, since I’m a La Salle Greenhills alumnus). The highlight of that afternoon was the presentation of the performing arts groups, under the DLSU Cultural Arts Office. The show was held at the William Shaw Little Theater (we didn’t have the Yuchengco Theater and the Sports Complex yet). I remember the performance of the DLSU Concert Band (yes, this was ’96, it wasn’t called Pops yet; naabutan ko yon!). The first piece the Band played was David Foster’s instrumental classic, “Winter Games”. I remember seeing Sir Eli for the first time. The drummer was a girl (Ella Monserrate, the first-ever female Band/Pops drummer), the bass player (Dohndi Santos) was wearing a Dream Theater shirt, and the keyboardist (Junjun Del Rosario) was really really good. And coming from an exclusive all-boys' school, for me it was intriguing to see a big band with a good number of female members! Next song, if I remember it right, was Swing Out Sister’s “Am I The Same Girl”, which was sung by former CAO Coordinator Ms. Mary Lyn Driz (I remember back when the old members jokingly teased Sir Eli a lot, linking him to Ms. Lyn hehe!). That was also the first time I saw and heard that great drummer named Junjun Regalado. The Band sounded so beautiful. And that moment, I thought of joining. It may sound corny or cliché, but it felt like destiny. And so, the second week of school was audition week. I searched for the Concert Band’s audition booth, and I quickly signed up.

My ECE blockmate, guitarist Mark Casquero was also interested in joining the Band. That midweek, one afternoon after classes (around 5pm, if I remember it right), we decided to visit the Band Room to inquire further about what to prepare for and expect at the audition. Sir Eli was the only person present inside the Band Room that time. That was the first time I entered the Band Room and talked to Sir Eli. For me, visiting the Bandroom was a chance for me to check out the place and the gear. I saw a nice red Premier XPK drumkit with Zildjian cymbals, set up on one corner of the rehearsal area. The kit looked new that time, and I thought "Ah, nice kit! I'll be alright at the audition."

Audition day was Saturday at the Band Room, which was hidden somewhere at one corner of the Taft campus, beside the school’s ROTC office, near the then-new STRC Building. Back then, there weren’t any preliminary and final auditions and all those special screening and steps. All auditions and interviews were held at the audition day itself (except for non-performing applicants for the PR Committee and the Production Staff). I arrived at the Band Room sometime around 2pm. I went alone, having no companions or upperclassmen contacts and referrals. I didn't know where my blockmate Mark was. I know sophomore sax player Vic Nepomuceno from LSGH Band, but I didn’t know he was a Band member until later. And I knew LSGH batchmate & sax player Oliver Santillan was auditioning too, but we had different schedules (sorry Oliver, I just revealed your real ID number haha!). It was just me, my sticks, and for some reason, I brought along with me my mountable LP Cyclops Tambourine (what was I thinking back then haha!). I remember waiting for my turn at the Band Room’s office area. Also waiting were the La Salle Zobel boys - I recall seeing Patrick Mateo, Ryan Herrera, and Mikmik Sy Qui; and aspiring vocalist, sophomore Jolon Pabiton, who was wearing fatigues fresh from his ROTC session. I even remember what I was wearing that day – a red tie-dyed Batman shirt, jeans, and black Palladium sneakers. And I was attempting to grow my hair long.

The rehearsal room’s glass windows were covered, so that we won’t be able to see what’s happening inside the audition area. Whenever the door opened, we tried to peek in, but there was a huge rolling blackboard which served as a divider. Though I was feeling confident that time, I knew it will be tough the moment they call my name and I begin playing. I was also aware that I wasn’t the only drummer trying out, and I knew this one guy who auditioned, and I heard he’s quite a good drummer. And I also heard that they only needed one new drummer that year. While waiting, we can hear people from the audition area, screaming, applauding, laughing, and reacting to whatever the aspiring applicant played or answered during the interview. Though it was a sign for me that the audition wasn’t so uptight, it still felt scary.

Finally, it was my turn. It was sometime around 3pm. I entered the rehearsal room/audition area. There were plenty of people! The rhythm section area was the stage. In front was a long table, and I assumed that the persons seated there with papers, pens, and lists were the officers. On one side near the window, Sir Eli was seated on his high chair. The rest of the members were scattered around the room. And some rhythm section players were on standby, waiting to play along with Band hopefuls. I remember, it was alumnus Neil Mison on bass and Junjun Del Rosario on keyboard. I smiled the whole time, hoping that it would bring a nice first impression haha! I took a moment to make adjustments on the Band's Premier drumkit. The kit was pretty much new back then. The chrome hardware and the Zildjian A Series cymbals were shiny. When I was all set, Sir Eli told me to play a solo…

I played Temple Of The Dog’s “Pushing Forward Back”. I chose that song because its time signature is in 7, and I thought that it can show them that I can play odd meters. Plus, I think the song is groovy even if it’s in 7. Most of them weren’t aware of what song I was playing along to in my head, but they knew I was playing in 7. They made me stop halfway through, and then Sir Eli told me to jam with the rhythm section. I can’t remember what we played, but we jammed for awhile, and it was fun. Until Sir Eli told us to stop, then he handed me this sheet of music, which I thought will seal my fate in this audition haha! It was “Santorini”, by Greek new age musician Yanni, which was in 7. I never heard of Yanni that time, so deep inside I was like, "Oh no..." haha! They must have thought of giving me that piece because I played an odd-time song earlier. I was used to reading transcriptions from Modern Drummer magazine and the ones I got used to at the LSGH Band, so I had a bit of difficulty reading Sir Eli’s piece, and I was a slow sight reader (even up to this day). At first, I didn’t quite get it. But when Junjun began playing the opening keyboard parts, things became clearer for me. I learned later on that Sir Eli’s drum notations are like patterns/guides, and only the hi-hats were supposed to be played during the opening part of Santorini. Though I was able to nail the accents, I played the song with kick and snare, forming a groove. Some of the guys thought I can’t read haha!

After playing a few bars, they interviewed me and bombarded me with several questions, from standard audition questions like “What’s your reason for joining the Band?”, “Do your parents know that you’re auditioning?”, and various commitment-related questions, to funny inquiries like "Umiinom ka ba?", and “May girlfriend ka na ba?” I think I was sweating more during the interview than on my performance! Those 10 minutes of audition felt longer. After all that, they told me to wait for the results, which will be posted at the Band Room on Monday, 5pm.

Monday afternoon, after my class, I went to the Band Room, together with my blockmate Mark. We ran up the stairs going to the Band Room door, where the final results were posted. Mark made it.

And yes, I made it too.